Sweet Gongs Vibrating 2016
UCSD. SDAI. San Diego Art Institute, 1439 El Prado, San Diego. Sweet Gongs Vibrating is a multimedia, multi-sensory exhibition that aspires to activate the sensorial qualities of objects in order to illustrate alternative narratives regarding access, place and space. Brought to you by SDAI curator-in-residence Amanda Cachia, Sweet Gongs Vibrating opens Saturday, March 26, from 6 to 8 p.m. and runs through Saturday, May 28, 2016.
Difference Frequencies 2015
Difference Frequencies NYC Art Exhibition at the Creative Center, October 2nd through November 28th, 2015: Houston Street Center, 273 Bowery St. New York, New York.
Featured solo performance of Difference Frequencies by violinist Serge Zenisek on October 2nd, 2015.
An article in Upworthy about this exhibition, read here. Also featured on NYU Tisch ITP site here
Notes on an exhibition
Difference Frequencies. Because it encompasses ideas about Difference in the social sense of Disability, and a more theoretical understanding of wave based physics, and biological differences found in the Trisomy realm of genetic encoding. And the political and social dialectic that produces a difference as a product of input to a given systematic schema. The answer lies somewhere in the numbers 3 and 21. -A.J. Ptak 7/2015
The unpredictability of this composition system is intended to be offset and is unstable by design. I utilize simple means to produce complex results. The relation of the antenna to the work is an anti-communicative one. Failure of communication produces argument, and as a consequence, thought, provocation, and a new system. This work has a social concern. A concern about all transmissions and how they operate in our experience. A public will be conscious of a system in operation, its traces, and possibilities modulated from one's choice to action. In this circumstance we must depend on each other for information. As we acquire information we make decisions. In making decisions we are learning. In learning we are composing language. I am interested in what takes place between the transmission of the work itself, and the receiver of the work, in the development of these continuously offset hierarchies, in a system of encoding and decoded information. (Informodulation for exhibition Between Thought and Sound at the Kitchen 2007) - AJ Ptak
Informodulation.08 48 inches x 72 inches on canvas.
Tumbleweed at Roulette Intermedium
New performance scheduled for 8:30pm on June 20th, 2009 at Roulette Intermedium. 20 Green Street, New York, NY. Details about this performance with Cyrus Pireh and David Means described here.
Saturday, June 20, 2009 @ 8:30 pm
20 Greene Street between Canal and Grand Streets, SoHo, New York, NY. Tumbleweed A collaborative performance installation for prepared electric guitars, theremin and projections David Means with Cyrus Pireh and Anthony Ptak. Tumbleweed combines archival images from the American dust bowl with interactions and improvisations of musicians and live electronics.
Between Thought and Sound
The Kitchen 512 West 19th Street New York, NY. Exhibition September 7 through October 20, 2007. Between Thought and Sound: Graphic Notation in Contemporary Music. Opening reception on Friday September 7, 2007 at 6:00 pm until 8:00 pm.
Exploring the intersection of drawing and sound, this show includes experimental scores by more than twenty contemporary composers who relinquish traditional musical notation in favor of their own invented visual systems of pictorial or graphic elements.
Curated by Alex Waterman, Debra Singer, and Matthew Lyons.
A Lab is a Lab is a Lab
The Kitchen May 24, 2007 8pm. 512 West 19th Street, New York, NY.
A Lab is a Lab is a Lab curated by Bradley Eros and Matthew Lyons.
An evening of live projections and musical performances featuring unique collaborations between sound and image makers utilizing unusual instruments and sources including the theremin, brainwaves, photocells, oscilloscopes, X-rays, contact microphones, anamorphic lenses, and the magic lantern.
Participating artists Maria Chavez, Angie Eng, Bradley Eros, Andy Graydon, Sarah Ibrahim, Zach Layton, Anthony Ptak, Joel Schlemowitz, Lary Seven, Ray Sweeten, and Keiko Uenishi each perform solos and duets that explore the subversions and rediscoveries connecting science, mystery, and desire.
Media programs at The Kitchen are made possible with public funds from the New York State Council on the Arts, a state agency.
American Ophoniste Idol 2006
Ophoniste silver medal in collaborative sound performance What Time is Love with Amy Granat. Included cell phone, broken glass, and utensils. Jury: Andrew Phillips (Flavorpill) Michael J Schumacher (Diapason) Nick Stillman (PS1).
American Ophoniste Idol Tuesday, November 21, 8:30pm at Monkey Town, 58 North 3rd Street between Blythe and Kent in Williamsburg, Brooklyn, New York.
"The Four Ophones "is an interactive sound installation that allows the users to record sounds that are replayed infinitely until replaced by other sounds. The installation provides a space for playful musical collaboration and language-independent conversations where the visitors themselves become composers, instrumentalists, and listeners at the same time. The Ophones foster everything from subtle interference etudes to collaborative chanting, semi-automated social commentary to dense polyrhythmic drone parties." - Unsworn
Points in a Circle: Site-Specific Works for the Hemispheres at Issue Project Room
Points in a Circle July 8, 2006 8pm at Issue Project Room 400 Carroll Street between Bond and Nevins Brooklyn, New York. Site-specific work presented on IPR's 16-Channel Hemispheric Speaker System. Multi-oscillator polyphonic theremin performance with Cyrus Pireh, Stephan Moore, and David Linton.
Curated by Suzanne Fiol and Stephan Moore.
The End of Music. I recognize the end of music. As an artist I establish a relation without enforcing a relation. An audience, that is to say a public, ought never be captive. A space can be transformed by the unfamiliar in an arena of recognition. The work is the connection made by the receiver of information, the transmission is the catalyst for this exchange. My expectations are to modulate the signal of infrastructure, to utilize simple means to produce complex results. The theremin is electromagnetism, aether made present in the modulation of transformative wave energy that inducts and traces an exponential axis of gestural interference. The frequency of oscillation along a unified temporal axis, reflects a recursive bridging of distance in a soundscape of interference. We listen to the world as a system of associative indices. Sound is a physical axis that occupies and transforms space. The heterophony of the theremin antenna is navigation. - AJ Ptak
Aerodynamics of the Hovering Hummingbird: Science, Cinema, and Ways of Seeing
Millennium Film Workshop April 29, 2006 8pm at Millennium Film Workshop. 66 East 4th Street (between Bowery and 2nd Avenue) New York, New York. See the Millennium site.
Curated by Jennifer MacMillan and Bradley Eros.
Acrosynaxis performance for thereminvox
Utilizing the theremin's principle of interference to feed back into itself an exponential deconstruction of the instrument, the frequency of oscillation along a unified temporal axis, reflects a recursive bridging of distance in a soundscape of interference. Much like the 1000th of a second captured image of Warrick's hovering hummingbird, or the Kino-Glaz reality 24 times per second delineated by Dziga Vertov, or John Cage's Future of Music Credo which alludes to Beethoven as a material operating at 50 times per second and rejects imitative use of the theremin. This electro-acousmatic work concentrates on sound as a carrier of information. - AJ Ptak
linkNew Picture from Millennium performance! (Photo by Peter Steinberg)
The Art of Music STAC Exhibition July 23 to August 27, 2005 at Mills Pond House Gallery 660 Route 25A St. James, New York.
This artwork is intended to evoke both the abstract and functional aspects of music. It is a visual representation of the physical space music occupies. It is also an instrument that can be played in any tuning configuration. Vibration is transferred from steel to wood. Many experiments were done using a device called a monochord inspired by the mathematician Pythagoras in the 6th century BC; it had one string used to measure ratios. Ekphonetic notation, to which the title refers, was one of the earliest attempts to systematize the way in which we hear (reception) and play music (transmission). This notation was based on speech and not exact pitch in Greece and Asia in the 5th to 7th centuries AD. Sulponticello means to play near or on the bridge of the instrument resulting in a sound with a voice-like rasp when bowed and more upper harmonic frequencies when plucked. With this instrument the artist seeks to create complex results from simple economical means. The work serves as a kinetic reference to the temporal (horizontal) and the timbral (vertical) aspects of a musical axis. The receiver of this work is encouraged to examine systems critically and to experiment as listener, observer, and composer in the world. - AJ Ptak
1997 First International Theremin Festival
First International Theremin Festival in Portland, Maine. Featuring, workshops, presentations, and performances by Lydia Kavina, Robert Moog, Eric Ross, Albert Glinsky, and Olivia Mattis....
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Bibliography: Transmission Arts, Artists & Airwaves, PAJ Publications, 2011.
Notations 21, Mark Batty Publishers, 2009.
Between Thought and Sound, The Kitchen, 2007.
linkArtworks currently available at Saatchi Art gallery.